2024

‘I have anger issues too’ is the title of the exhibition at the Kunstler*innenhaus Frise in Hamburg. For this exhibition, I created new work tailor-made for the space. Broken plasterboards become objects on the wall, on the floor and on the ceiling. Together with my Videos, in which I break down and breach walls, these new objects form aesthetic remnants of destructive actions.

Material: Plasterboard, wood and paint

Made possible by Mondriaanfonds

Tentoonstelling in Hilton Art lab van 10 t/m 27 juni 2021

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Exhibition in Hilton Art lab from 10 to 27 June 2021

“There is a crack in everything; that’s how the light gets in.”  
2017- ongoing / Installation in public space in Rotterdam, Vijverhofstraat 25, The Netherlands
16 lightboxes with photos of broken glass windows

‘There is a crack in everything; that’s how the light gets in’ centres on the quality of imperfections. Places or things around us that we regard as being ugly, have a right to be. Not everything has to be perfect. It is the imperfections that make life exciting and a city lively. The building on which the work of art is displayed will be demolished at some time in the distant future. The decision to use broken windows accentuates this. Every broken window is unique and every hole in the window looks out on a blue sky with clouds. Normally we don’t appreciate the beauty of a broken window, but now our attention is drawn to it, exposing the building as it is, coaxing beauty out of ugliness.

Time’s up 2019/ 2020 / Installation and Stop motion video projected in public space / Rotterdam, The Netherlands

This stop motion video shows the destruction process of a wall segment by means of drilling. By using different drill sizes, the wall slowly crumbles beautifully away, until time runs out. See the video underneath. The installation and video projection was part of an exhibition in a building that is now taken down.

I Love Beirut
2018 / project proposal, photoshop document / Beirut, Lebanon

Drilled holes into left-over outside walls, photographed and then photoshopped into pictures of empty facades of key buildings in Beirut.  

Judy van Luyk spent two months in Beirut and was part of the Beirut Art Residency (BAR). For Judy, it was a city of contradictions; she was touched by the traces of the war, which are still clearly visible in Beirut. Neglected concrete buildings, full of impact holes stand next to shiny skyscrapers. Endless traffic jams, corruption and pollution are part of daily life. And at the same time, the population of the city displays an enormous zest for life; a mix of love, hate and eagerness to change things, which impressed Judy. She explored how to make a work that encompasses the difficult political climate and history, yet remains positive and hopeful. The result is a series of proposals for interventions in public space. By drilling holes, she created the message "I love Beirut"; a tribute to the city and its inhabitants.

Inside out
2017  / Installation with photos in lightboxes.
Alte Nudlefabrik, Zeitz, Germany 

This installation was created during a month of work and research in an old, derelict factory, as part of IPIHAN (a group of artists called ’If paradise is half as nice’). This abandoned factory has been empty for a long time, with only traces of usage and human existence left. But nature slowly takes over. Walls disintegrate, windows break. Plants start growing within its walls and birds make it their home. The border between inside and outside slowly fades away.

Artist versus Concrete
2018 - 2019 / performance, intervention in public space
Roro Buiten, Rotterdam, The Netherlands 

For six months I tried to deconstruct a concrete wall with a drilling machine; a battle between artist and a concrete wall measuring 2 by 3 meters. It was a slow process of attractive deconstruction: patterns emerged and disappeared. The public could influence the outcome by subsidising holes. I would drill 2 holes in return for one euro.

The wall is a standard 2x3 wall which is used to create borders and while working I talked with people about the ideas around building walls and borders. For example, a wall between my home and my neighbour’s is a necessity, to my mind. On the other hand, a wall between Europe and the rest of the world gives me no pleasure. For me, the wall also represents the invisible walls we encounter in everyday life. You try and try, but no matter how hard you fight, you run into a border. How are we supposed to deal with those visible and invisible borders?  You can accept them, climb over them, but pushing straight through them is also an option!

This project was within the context of RoRo-buiten and sponsored by De Borenshop, Labor Holland, CBK-Rotterdam, Gemeente Rotterdam and private donors.

Time’s up
2018  / Stop motion video - performance 1,14 min. /  plasterboard with rockwool 
Rotterdam, The Netherlands

This stop motion video shows the destruction process of a wall segment by means of drilling. By using different drill sizes, the wall slowly crumbles beautifully away, until time runs out. See the video underneath.

In Memoriam
2017  / Installation of broken glass panels, light and shadow.
Alte Nudlefabrik, Zeitz, Germany 

This installation was created during a month of work and research in an old, derelict factory, as part of IPIHAN (a group of artists called ’If paradise is half as nice’). Many windows in the factory were lying around broken so I used them to create the installation ‘In Memoriam’. In the cellar of the factory, a damp and dark vault, I created a silent and almost sacred place for the broken windows to be remembered for what they were and what they have become. Their own shadows form the shapes of the broken glass like paintings on the wall, reminding us of how perfectly unique and special they still are.

357 holes rectangle is a site- specific intervention in Bergen (2018). Showing the animation of the proces of deconstruction and the left-over wall as one piece. The piece was to be seen in the show ‘Bewarehouse of Art Rotterdam’ , during the Kunst 10-daagse Bergen.

See the video underneath.

Stopmotion video 1,20 min. + 2 x plasterboard and rockwool, 2018

‘225 holes square’ was produced in an empty office building in Rotterdam. It is a stop motion video showing the destruction process of a wall segment by means of drill holes. By using different drill sizes, the wall slowly crumbles beautifully away. See also the video underneath.

Places and Traces
2016 - ongoing / Poster installations in public spaces and a series of photos 20x27 cm, on Hahnemühle paper, dibond. 
At different locations in Dresden and Rotterdam

I developed this project during my two-month residency in Dresden. I was very inspired by the ubiquitous graffiti and started photographing facades, ornaments, bricks and graffiti, ultimately creating abstract symbols and icons. For each location I then designed a series of icons which would best fit the building. Some locations were commissioned, but many were utilised without permission. I also made a photo series of this site-specific work, which can be displayed in a gallery setting.

Traces of ceiling and floor 
2016 / photography
3 photos: 80 x 100 cm, on Hahnemühle paper.
16 photos : 20 x 27 cm, on Hahnemühle paper, dibond

For several exhibitions I was asked to create a work related to the place itself. I was inspired by the structure of the ceilings and the floors. I photographed details, creating a series of abstract icons. In addition to these icons, I photographed the entire ceiling and floor in sections, like the pieces of a puzzle.

Poster intervention on the facade of the Goethe Institut, Westersingel 9, Rotterdam. / 2017

Place: Teilingerstraat 120, Rotterdam

Collez-les
2007 / site-specific, interactive installation 
Les Halles de la Fonderie, Geneva, Switzerland

Les Halles de la Fonderie used to be a foundry, but has been transformed into an art-project space. The walls displayed many traces of former exhibitions. Every hole and plug was still visible. I wanted to make the visitors aware of all those remnants of past shows. I created sticker sheets containing photos of all the holes left in the space itself. Visitors were invited to pick up a sheet and affix the stickers to the walls, thus creating an active intervention and establishing a reflection of the given space.

Size/Material: Photo's 15cm x 15cm

Trace: La Ruine, Geneva, Switzerland 2006

Trace: Villa Nuts, Den Haag, The Netherlands 2007

Trace: Galerie Mirta Demare, Rotterdam, The Netherlands 2007

Project 'Hoeken en Gaten / Les Coins et Recoins' sets out to investigate details of given spaces. For each event or location there were photo's taken of details of the space. These details were shown in the same space again; confronting the visitor with the space itself and turned its defaults into details worth looking at.

Trace cards
2014 / installation project
Different locations, galleries and museums in Rotterdam, The Netherlands

Trace cards is a self-initiated project in which 14 galleries and museums took part. I created a postcard of each location, highlighting a detail of the space itself. Visitors could take this complementary card home, as a keepsake of an insignificant detail of the gallery or museum.  

Participating locations: 
Chabot museum, Roodkapje, Goethe instituut, TENT, Joey Ramone, Frank Taal,  Zic Zerp, House of Ababa, Ram-foundation, Nederlands fotomuseum, Boymans, De Kunsthal en het Nieuwe instituut.

2016 / interactive installation /

Material: plug, socket, wood, plexiglas, sound, light and meganical devices / 32x32x32cm

In this installation “connect-us’, an electricity socket en plug play the lead role. The onlooker is invited to connect the two. When so, the red light comes on and the sound of a conversation between a man and woman starts, leading to a climax.  

"It is a surprising and humoristic work and focuses on an everyday object"

Haken
2015 / Research and installation
Material: Hooks, drawings, a map of the location of the findings, 3 photos of 130 x 90 cm and 35 photos of 18 x 24 cm on dibond. 
Ampelhaus, Oranienbaum, Germany. 

During this one-month residency, I researched the variety of hooks available today, the kind you can find in the kitchen, the bathroom or that we use to hang our coats. My idea for this project was based on the wide range of hooks I noticed in Oranienbaum and the fact that it is an unimportant object, easily overlooked. I collected hooks and treated them as archaeological finds. I photographed hooks in people’s homes, which ultimately proved to be a very good way for people to feel connected to the project and its outcome. The hooks became objects worth looking at, playing the lead role in desolate landscapes.

Photo' s (black&white) / different sizes

The project 'Landscapes' is a series of table-top photo's. The models were built from paper, sand and other materials. The photograph of the model is the actual work. As a result, the photographed landscapes invite the viewer to look through the camera lens at an imaginary world referencing familiar realities.